OJS (Centro de Investigação em Artes e Comunicação)
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Letícia Maia and the intersection between art, migration, and digital platforms
Full text linkEste artigo propõe um estudo de caso da artista brasileira Letícia Maia (Mairiporã, 1988), residente no Porto desde 2019, para refletir sobre a intersecção entre arte, migração e plataformas digitais. A partir de uma entrevista semiestruturada realizada em 2025 e da análise da sua presença on-line, discutem-se tensões entre vulnerabilidade e visibilidade em práticas artísticas que envolvem nudez, auto-lesão performativa e negociação com algoritmos de moderação. A trajetória de Maia, marcada por uma transformação profissional que vai do teatro e da mediação cultural no Brasil para uma consolidação no campo da performance e das artes visuais em Portugal, evidencia deslocamentos culturais e simbólicos que conjugam oportunidades de inserção e a persistência de barreiras coloniais.O estudo mobiliza duas chaves conceituais: (1) a ética do cuidado, entendida como prática coletiva de sustentação de vidas, redes e projetos, e (2) o feminismo decolonial, que revela como legados imperiais continuam a estruturar hierarquias de gênero, raça e trabalho. Argumenta-se que, embora plataformas como Instagram e Cargo Collective ofereçam visibilidade, circulação transnacional e vínculos de solidariedade, elas também impõem formas de trabalho invisível – responder mensagens, gerir censura algorítmica, lidar com discursos de ódio – que podem agravar condições de vulnerabilidade material e emocional no contexto migratório.A análise destaca ainda a potência política da vulnerabilidade performativa, capaz de se converter em resistência e em produção coletiva de cuidado. Ao mesmo tempo, evidencia riscos de descontextualização e de leituras fetichizantes que atravessam a arte contemporânea, sobretudo quando o corpo é o meio central da criação. Conclui-se que compreender tais dinâmicas é fundamental para pensar políticas culturais e estratégias institucionais que reconheçam o cuidado como dimensão estrutural da prática artística contemporânea.This article presents a case study of Brazilian artist Letícia Maia (Mairiporã, 1988), based in Porto since 2019, in order to reflect on the intersection of art, migration, and digital platforms. Drawing on a semi-structured interview conducted in 2025 and on an analysis of her online presence, the article explores the tensions between vulnerability and visibility in artistic practices that involve nudity, self-inflicted performance actions, and negotiations with algorithmic moderation. Maia’s professional trajectory, which evolved from theater and cultural mediation in Brazil to consolidated performance and visual arts practices in Portugal, reflects cultural and symbolic displacements that combine opportunities for insertion with persistent colonial barriers.The study mobilizes two key conceptual frameworks: (1) the ethics of care, understood as a collective practice sustaining lives, networks, and projects, and (2) decolonial feminism, which demonstrates how imperial legacies continue to shape hierarchies of gender, race, and labor. The article argues that while platforms such as Instagram and Cargo Collective provide visibility, enable transnational circulation, and foster networks of solidarity, they also impose invisible forms of labor – responding to messages, managing censorship, and dealing with online harassment – which may exacerbate situations of material and emotional vulnerability in migratory contexts.The analysis also highlights the political potential of performative vulnerability, capable of being transformed into resistance and into collective practices of care. At the same time, it underscores the risks of decontextualization and fetishizing interpretations that permeate contemporary art, especially when the body is the central medium of creation. Recognizing these dynamics is essential for rethinking cultural policies and institutional strategies that acknowledge care as a structural dimension of contemporary artistic practice.This article presents a case study of Brazilian artist Letícia Maia (Mairiporã, 1988), based in Porto since 2019, in order to reflect on the intersection of art, migration, and digital platforms. Drawing on a semi-structured interview conducted in 2025 and on an analysis of her online presence, the article explores the tensions between vulnerability and visibility in artistic practices that involve nudity, self-inflicted performance actions, and negotiations with algorithmic moderation. Maia’s professional trajectory, which evolved from theater and cultural mediation in Brazil to consolidated performance and visual arts practices in Portugal, reflects cultural and symbolic displacements that combine opportunities for insertion with persistent colonial barriers.The study mobilizes two key conceptual frameworks: (1) the ethics of care, understood as a collective practice sustaining lives, networks, and projects, and (2) decolonial feminism, which demonstrates how imperial legacies continue to shape hierarchies of gender, race, and labor. The article argues that while platforms such as Instagram and Cargo Collective provide visibility, enable transnational circulation, and foster networks of solidarity, they also impose invisible forms of labor – responding to messages, managing censorship, and dealing with online harassment – which may exacerbate situations of material and emotional vulnerability in migratory contexts.The analysis also highlights the political potential of performative vulnerability, capable of being transformed into resistance and into collective practices of care. At the same time, it underscores the risks of decontextualization and fetishizing interpretations that permeate contemporary art, especially when the body is the central medium of creation. Recognizing these dynamics is essential for rethinking cultural policies and institutional strategies that acknowledge care as a structural dimension of contemporary artistic practice.This article presents a case study of Brazilian artist Letícia Maia (Mairiporã, 1988), based in Porto since 2019, in order to reflect on the intersection of art, migration, and digital platforms. Drawing on a semi-structured interview conducted in 2025 and on an analysis of her online presence, the article explores the tensions between vulnerability and visibility in artistic practices that involve nudity, self-inflicted performance actions, and negotiations with algorithmic moderation. Maia’s professional trajectory, which evolved from theater and cultural mediation in Brazil to consolidated performance and visual arts practices in Portugal, reflects cultural and symbolic displacements that combine opportunities for insertion with persistent colonial barriers.The study mobilizes two key conceptual frameworks: (1) the ethics of care, understood as a collective practice sustaining lives, networks, and projects, and (2) decolonial feminism, which demonstrates how imperial legacies continue to shape hierarchies of gender, race, and labor. The article argues that while platforms such as Instagram and Cargo Collective provide visibility, enable transnational circulation, and foster networks of solidarity, they also impose invisible forms of labor – responding to messages, managing censorship, and dealing with online harassment – which may exacerbate situations of material and emotional vulnerability in migratory contexts.The analysis also highlights the political potential of performative vulnerability, capable of being transformed into resistance and into collective practices of care. At the same time, it underscores the risks of decontextualization and fetishizing interpretations that permeate contemporary art, especially when the body is the central medium of creation. Recognizing these dynamics is essential for rethinking cultural policies and institutional strategies that acknowledge care as a structural dimension of contemporary artistic practice
Shared Creation between Filmmaker and Spectator: Rua dos Anjos through a Feminist Reading
Full text linkCom este artigo, propõe-se uma escrita que articula, simultaneamente, características científicas e ensaísticas, a partir da análise de três cenas do filme Rua dos Anjos (2022). A análise inscreve-se no campo dos Estudos Feministas e na metodologia de investigação e prática da Criação Partilhada, enfatizando a natureza plural da autoria entre uma das realizadoras e uma das espectadoras do filme em questão. A metodologia adoptada, ancorada na Investigação em Artes, reconhece a criação como um acto epistemológico fundamental, no qual a experiência sensível desempenha um papel central na produção de conhecimento.Com o texto problematiza-se a estrutura tradicional da investigação, propondo um modelo em que uma investigadora-espectadora e uma investigadora-realizadora estabelecem uma troca de saberes num processo em que múltiplas perspectivas se contaminam mutuamente na construção do pensamento e da escrita.Partindo de uma ética feminista que interroga as representações de género e sexualidade no cinema, a reflexão incide sobre o modo como o corpo feminino, nas suas múltiplas formas de expressão, se constitui como espaço de disputa simbólica, desafiando normatividades e expandindo os limites das narrativas cinematográficas sobre mulheres, ao centrar-se numa produção fílmica realizada entre elas. Esta abordagem sublinha a importância de reconhecer papéis historicamente subvalorizados na criação e na crítica cinematográfica, reivindicando uma compreensão mais equitativa dos processos artísticos.Ao questionar expectativas normativas em torno da maternidade, da sexualidade e da identidade de género, o texto ensaia uma leitura crítica sobre a materialidade do corpo filmado e sobre a autoria, desafiando concepções hegemónicas da produção cinematográfica e sugerindo a criação como território de resistência e reconfiguração de sentidos.This article proposes a form of writing that simultaneously intertwines scholarly and essayistic characteristics, drawing upon the analysis of three scenes from the film Rua dos Anjos (2022). The analysis is situated within the field of Feminist Studies and grounded in the research and practice methodology of Shared Creation, emphasising the plural nature of authorship between one of the filmmakers and one of the viewers of the film. The adopted methodology, anchored in Artistic Research, recognises creation as a fundamental epistemological act in which embodied experience plays a central role in the production of knowledge.The text challenges the traditional structure of academic inquiry by proposing a model wherein a viewer-researcher and a filmmaker-researcher engage in an exchange of knowledge in a process where multiple perspectives contaminate one another in the construction of thought and writing.Using a feminist perspective that examines how gender and sexuality are shown in movies, the discussion highlights how the female body, in its various expressions, becomes a battleground for ideas, challenging traditional views and broadening the stories told about women by focussing on films made by them. This approach underscores the importance of recognising historically undervalued roles in both film creation and criticism and advocating a more equitable understanding of artistic processes.By challenging traditional views on motherhood, sexuality, and gender identity, the text offers a critical look at how the filmed body and authorship are understood, breaking away from dominant ideas about film production and proposing that creation can be a way to resist and change meanings.This article proposes a form of writing that simultaneously intertwines scholarly and essayistic characteristics, drawing upon the analysis of three scenes from the film Rua dos Anjos (2022). The analysis is situated within the field of Feminist Studies and grounded in the research and practice methodology of Shared Creation, emphasising the plural nature of authorship between one of the filmmakers and one of the viewers of the film. The adopted methodology, anchored in Artistic Research, recognises creation as a fundamental epistemological act in which embodied experience plays a central role in the production of knowledge.The text challenges the traditional structure of academic inquiry by proposing a model wherein a viewer-researcher and a filmmaker-researcher engage in an exchange of knowledge in a process where multiple perspectives contaminate one another in the construction of thought and writing.Using a feminist perspective that examines how gender and sexuality are shown in movies, the discussion highlights how the female body, in its various expressions, becomes a battleground for ideas, challenging traditional views and broadening the stories told about women by focussing on films made by them. This approach underscores the importance of recognising historically undervalued roles in both film creation and criticism and advocating a more equitable understanding of artistic processes.By challenging traditional views on motherhood, sexuality, and gender identity, the text offers a critical look at how the filmed body and authorship are understood, breaking away from dominant ideas about film production and proposing that creation can be a way to resist and change meanings.This article proposes a form of writing that simultaneously intertwines scholarly and essayistic characteristics, drawing upon the analysis of three scenes from the film Rua dos Anjos (2022). The analysis is situated within the field of Feminist Studies and grounded in the research and practice methodology of Shared Creation, emphasising the plural nature of authorship between one of the filmmakers and one of the viewers of the film. The adopted methodology, anchored in Artistic Research, recognises creation as a fundamental epistemological act in which embodied experience plays a central role in the production of knowledge.The text challenges the traditional structure of academic inquiry by proposing a model wherein a viewer-researcher and a filmmaker-researcher engage in an exchange of knowledge in a process where multiple perspectives contaminate one another in the construction of thought and writing.Using a feminist perspective that examines how gender and sexuality are shown in movies, the discussion highlights how the female body, in its various expressions, becomes a battleground for ideas, challenging traditional views and broadening the stories told about women by focussing on films made by them. This approach underscores the importance of recognising historically undervalued roles in both film creation and criticism and advocating a more equitable understanding of artistic processes.By challenging traditional views on motherhood, sexuality, and gender identity, the text offers a critical look at how the filmed body and authorship are understood, breaking away from dominant ideas about film production and proposing that creation can be a way to resist and change meanings
Structural Components of Collective Creativity Type: Specificity of Producer Performance in the Cultural Creation of the 21st Century
Full text linkThe study addresses the phenomenon of production, the analysis of which belongs to the innovative sphere of humanities and the problem of artistic creativity, which has the status of a classic. The problematic field of the article is built at the intersection of cultural studies, psychology, aesthetics and art history, which testifies to the interdisciplinary nature of the material under study. The emphasis on the collective type of artistic creativity recreates the dynamic nature of this aesthetic and psychological structure, its role in the cultural creation of the twenty-first century, and the special place that the producer’s activity occupies in this context. The reconstruction of the history of the term producer shows that having developed in the context of ancient Greek choral art, it has undergone significant modifications, although it is associated primarily with cinema and television, performing creative, economic and organisational and production functions. Thus, the producer not only demonstrates the diversity of activities, but also reveals creative potential, and in the process of cooperation with representatives of other screen professions, activates a dialogue that makes it possible to create a work of art. Particular emphasis is placed on the fact that the structural components of the collective type of artistic creativity have increased, as well as on the spheres of activity of the producer, which in the first decades of the twenty-first century has significantly expanded, overcoming the boundaries of cinema and television. The study argues that during different historical and cultural stages, the producer activity was correlated with those art forms that belonged to the collective type of creativity. It has gained particular importance in the context of new artistic and entertainment forms of contemporary culture, the process of technologisation of art and show business
The ethnic-racial issue in the diegetics of the film Rio, 40 Graus and the dilemma of censorship
Full text linkA questão étnico-racial nas diegéticas do filme Rio, 40 Graus e o dilema da censura analisa como a exposição de questões étnico-raciais na narrativa do filme impactou fortemente os agentes censores da época, que descortinavam na tela alva do cinema a negritude das favelas do Rio de Janeiro nos anos 1950. Assim, a censura é apresentada como uma ferramenta do governo para controlar a imagem estética do Brasil, ocultando realidades sociais objetivas como miséria e desigualdade racial. Ao proibir o filme, o Estado buscou evitar a exposição de tensões sociais, mas essa repressão mobilizou críticos e intelectuais em defesa da liberdade de expressão, consolidando um forte movimento da sociedade civil e intelectual pela democratização. O filme em tela, portanto, tornou-se símbolo de resistência e catalisador de debates sobre direitos sociais, raça e classe, desafiando narrativas idealizadas e promovendo uma reflexão sobre a realidade social brasileira.The ethnic-racial issue in the diegetics of the film Rio, 40 Graus and the dilemma of censorship analyzes how the exposure of ethnic-racial issues in the film’s narrative had a strong impact on the censors of the time, who revealed the blackness of Rio de Janeiro’s favelas in the 1950s on the white screen of the cinema. Thus, censorship is presented as a government tool to control the aesthetic image of Brazil, hiding objective social realities such as poverty and racial inequality. By banning the film, the State sought to avoid the exposure of social tensions, but this repression mobilized critics and intellectuals in defense of freedom of expression, consolidating a strong civil society movement for democratization. The film on screen, therefore, became a symbol of resistance and a catalyst for debates on social rights, race, and class, challenging idealized narratives and promoting a reflection on Brazilian social reality.The ethnic-racial issue in the diegetics of the film Rio, 40 Graus and the dilemma of censorship analyzes how the exposure of ethnic-racial issues in the film’s narrative had a strong impact on the censors of the time, who revealed the blackness of Rio de Janeiro’s favelas in the 1950s on the white screen of the cinema. Thus, censorship is presented as a government tool to control the aesthetic image of Brazil, hiding objective social realities such as poverty and racial inequality. By banning the film, the State sought to avoid the exposure of social tensions, but this repression mobilized critics and intellectuals in defense of freedom of expression, consolidating a strong civil society movement for democratization. The film on screen, therefore, became a symbol of resistance and a catalyst for debates on social rights, race, and class, challenging idealized narratives and promoting a reflection on Brazilian social reality.The ethnic-racial issue in the diegetics of the film Rio, 40 Graus and the dilemma of censorship analyzes how the exposure of ethnic-racial issues in the film’s narrative had a strong impact on the censors of the time, who revealed the blackness of Rio de Janeiro’s favelas in the 1950s on the white screen of the cinema. Thus, censorship is presented as a government tool to control the aesthetic image of Brazil, hiding objective social realities such as poverty and racial inequality. By banning the film, the State sought to avoid the exposure of social tensions, but this repression mobilized critics and intellectuals in defense of freedom of expression, consolidating a strong civil society movement for democratization. The film on screen, therefore, became a symbol of resistance and a catalyst for debates on social rights, race, and class, challenging idealized narratives and promoting a reflection on Brazilian social reality
Negative Influence of Incorrect Information on Facebook User Behaviour: Kazakhstan Case
Full text linkThe research relevance is determined by the growing influence of social networks, in particular Facebook, on the behaviour of Internet users. The study of the impact of incorrect information disseminated through social networks is necessary and important for several reasons related to the protection of public safety, active manipulation of public opinion and disinformation of society, undermining trust in the mass media and official sources of information, and cybersecurity violations. The study aims to analyse the impact of inaccurate, manipulative, and distorted information uncontrollably disseminated through the social network Facebook on the behavioural patterns of its consumers and the impact of the results of these patterns on the social well-being, and economic and political stability of Kazakhstan. The study used the content analysis method to determine which type of incorrect information is encountered on Facebook in the media space of Kazakhstan and which of them receives the greatest response among users. The study concluded that Facebook posts elicit an active response from readers, which causes further misinformation dissemination, even though such information is regarded as highly credible in the absence of references to the source or evidence, causing negative user behaviour, such as disregard for security rules (physical, mental, epidemiological, cyber, financial); instigation of racial, religious and gender hatred; political inertness; use of social media for manipulation, fraud, defamation of public figures, financial fraud and propaganda. The study also determined publications on conspiracy theories posts (primarily related to the geopolitical situation, as well as the Coronavirus epidemic) and the domestic political situation in the country (primarily related to corruption scandals and specific political figures) receive the greatest response. The results of the study can be used to improve the level of cyber security and information literacy of the population of Kazakhstan
Olhares cruzados sobre a emergência da mediação artística e cultural nas políticas culturais em Portugal
Full text linkThe transition from dictatorship to democracy in Portugal marked a pivotal moment in the development of cultural policies, which continue to inform contemporary understandings of artistic and cultural mediation. This article examines the emergence of the term and concept of “mediation” within the legal and institutional frameworks of cultural action, exploring the conditions under which it arose and the rationales that sustained its evolution. Through an analysis of key documents – including the Portuguese Constitution, government programs, heritage legislation, museum policies, cultural funding regulations, and the 2019 National Arts Plan – and in comparative dialogue with the French context, we argue that the transformation in the politicization of culture created the conditions for the institutionalization of cultural mediation in both countries. Over time, cultural policies have increasingly mobilized the arts as instruments of social inclusion, shifting from a model of cultural democratization to one of cultural democracy – albeit at the risk of diluting the identity and autonomy of artists. Although artistic and cultural mediation was explicitly integrated into local cultural policies in the early 2000s, no specific professional category was established to carry out this work. While transformations in the social and urban fabric have fostered creativity and facilitated social interaction, they have also obscured a broader consumerist logic underpinning cultural participation. Moreover, the objectives of fostering participation – central to the discourse of mediation – face significant structural challenges, including precarious working and living conditions and the enduring impact of neoliberal policies implemented over the past three decades.The transition from dictatorship to democracy in Portugal marked a pivotal moment in the development of cultural policies, which continue to inform contemporary understandings of artistic and cultural mediation. This article examines the emergence of the term and concept of “mediation” within the legal and institutional frameworks of cultural action, exploring the conditions under which it arose and the rationales that sustained its evolution. Through an analysis of key documents – including the Portuguese Constitution, government programs, heritage legislation, museum policies, cultural funding regulations, and the 2019 National Arts Plan – and in comparative dialogue with the French context, we argue that the transformation in the politicization of culture created the conditions for the institutionalization of cultural mediation in both countries. Over time, cultural policies have increasingly mobilized the arts as instruments of social inclusion, shifting from a model of cultural democratization to one of cultural democracy – albeit at the risk of diluting the identity and autonomy of artists. Although artistic and cultural mediation was explicitly integrated into local cultural policies in the early 2000s, no specific professional category was established to carry out this work. While transformations in the social and urban fabric have fostered creativity and facilitated social interaction, they have also obscured a broader consumerist logic underpinning cultural participation. Moreover, the objectives of fostering participation – central to the discourse of mediation – face significant structural challenges, including precarious working and living conditions and the enduring impact of neoliberal policies implemented over the past three decades.The transition from dictatorship to democracy in Portugal marked a pivotal moment in the development of cultural policies, which continue to inform contemporary understandings of artistic and cultural mediation. This article examines the emergence of the term and concept of “mediation” within the legal and institutional frameworks of cultural action, exploring the conditions under which it arose and the rationales that sustained its evolution. Through an analysis of key documents – including the Portuguese Constitution, government programs, heritage legislation, museum policies, cultural funding regulations, and the 2019 National Arts Plan – and in comparative dialogue with the French context, we argue that the transformation in the politicization of culture created the conditions for the institutionalization of cultural mediation in both countries. Over time, cultural policies have increasingly mobilized the arts as instruments of social inclusion, shifting from a model of cultural democratization to one of cultural democracy – albeit at the risk of diluting the identity and autonomy of artists. Although artistic and cultural mediation was explicitly integrated into local cultural policies in the early 2000s, no specific professional category was established to carry out this work. While transformations in the social and urban fabric have fostered creativity and facilitated social interaction, they have also obscured a broader consumerist logic underpinning cultural participation. Moreover, the objectives of fostering participation – central to the discourse of mediation – face significant structural challenges, including precarious working and living conditions and the enduring impact of neoliberal policies implemented over the past three decades.A passagem da ditadura para a democracia, em Portugal, é um marco para as políticas culturais que atualmente influenciam a forma como se procura definir os conceitos de mediação artística e cultural. Por isso, neste artigo procuramos compreender quando, como e por que a noção e o termo de “mediação” surgiram no quadro jurídico da ação cultural. Após a análise de textos como a Constituição portuguesa, os programas governamentais, as leis sobre o património, os museus, as regras de financiamento da cultura e a definição de um Plano Nacional das Artes (2019), em comparação com a situação na França, constatamos que a mutação das formas de politização da cultura constitui o terreno em que se desenvolveu a mediação cultural nos dois territórios. As políticas culturais visam progressivamente um uso das artes e da cultura para fins sociais de inclusão, operando uma mudança da democratização da cultura para uma democracia cultural, com o risco de fazer desaparecer a identidade dos artistas. No início dos anos 2000, a mediação artística e cultural impõe-se explicitamente nas políticas culturais locais, embora não tenha sido criado nenhum grupo profissional especificamente para o exercício da mediação. A transformação do ambiente social e urbano, promotor da criatividade e facilitador do convívio, não pode, no entanto, ocultar um movimento consumista da cultura e o incentivo à participação, finalidade atribuída à mediação artística e cultural, que enfrenta obstáculos como as condições de trabalho e de vida, fruto das políticas neoliberais adotadas há trinta anos
Approaching to the audiovisual consumption of television series in young Spaniards
Full text linkl consumo audiovisual en la actualidad se ha visto modificado por los cambios que se han producido en el ecosistema tecnológico. Si la audiencia en general ha cambiado sus hábitos y costumbres en este campo, son los adolescentes quienes más han diversificado su forma de ver la televisión. Este estudio tiene por objeto realizar una aproximación a las preferencias e intereses de los adolescentes en materia de consumo audiovisual, en general, y de las series de televisión, en particular. La metodología empleada ha sido la realización de un focus group con 15 adolescentes. Entre los principales resultados, cabe destacar que prefieren ver series internacionales, donde el género más popular son las sitcoms, aunque las series de televisión para adolescentes ocupan un lugar destacado entre sus preferencias audiovisuales. Como principales conclusiones, mencionar que a pesar de que las series educativas son entretenidas y amenas, se opta por géneros más distendidos y que se acerquen a su vida cotidiana, pudiendo identificarse con las historias que en ellas se narran.Audiovisual consumption nowadays has been modified by the changes that have occurred in the technological ecosystem. While the general audience has changed their habits and customs in this fields, it is teenagers who have more diversified their way of watching television. This study aims to approximate the preferences and interests of teenagers in terms of audiovisual consumption, in general, and of television series, in particular. The methodology used was to hold a discussion group with 15 teenagers. Among the main results, it is worth mentioning they prefer to watch international series, where the genre of sitcoms stands out, although television series for teenagers also occupy a prominent place. As main conclusions, highlights that although the educational series are entertaining and enjoyable, they opt for a genre of more relaxed series that approach their daily lives, being able to identify with the stories that are narrated in them.Audiovisual consumption nowadays has been modified by the changes that have occurred in the technological ecosystem. While the general audience has changed their habits and customs in this fields, it is teenagers who have more diversified their way of watching television. This study aims to approximate the preferences and interests of teenagers in terms of audiovisual consumption, in general, and of television series, in particular. The methodology used was to hold a discussion group with 15 teenagers. Among the main results, it is worth mentioning they prefer to watch international series, where the genre of sitcoms stands out, although television series for teenagers also occupy a prominent place. As main conclusions, highlights that although the educational series are entertaining and enjoyable, they opt for a genre of more relaxed series that approach their daily lives, being able to identify with the stories that are narrated in them.Audiovisual consumption nowadays has been modified by the changes that have occurred in the technological ecosystem. While the general audience has changed their habits and customs in this fields, it is teenagers who have more diversified their way of watching television. This study aims to approximate the preferences and interests of teenagers in terms of audiovisual consumption, in general, and of television series, in particular. The methodology used was to hold a discussion group with 15 teenagers. Among the main results, it is worth mentioning they prefer to watch international series, where the genre of sitcoms stands out, although television series for teenagers also occupy a prominent place. As main conclusions, highlights that although the educational series are entertaining and enjoyable, they opt for a genre of more relaxed series that approach their daily lives, being able to identify with the stories that are narrated in them
Review of the exhibition “Figura y Fondo, archivo, tierra y mujeres”
Full text linkEsta reseña examina “Figura y Fondo, archivo, tierra y mujeres”, una exposición que, a través de intervenciones artísticas y la reconfiguración de archivos fotográficos, reflexiona sobre la invisibilidad histórica de las mujeres en el campo. A partir del proyecto de investigación “Figura y fondo. Acción icónica para redescubrir a las mujeres del campo. El archivo fotográfico a través del arte”, la muestra explora el papel de las mujeres rurales, tradicionalmente marginado en las representaciones visuales del trabajo agrícola, y ofrece una crítica a las desigualdades de género en la propiedad de la tierra. Utilizando una variedad de medios, incluyendo fotografía intervenida, inteligencia artificial, collages y performance, la exposición promueve la visibilización de las mujeres a través de una revisión crítica del pasado y la proyección de futuros posibles. Con una estructura que explora el pasado, el presente y el futuro, la exposición no solo pone en evidencia las tensiones históricas y sociales, sino que también invita al espectador a reflexionar sobre la necesidad de incorporar voces tradicionalmente silenciadas en la narrativa visual del campo. La muestra se llevó a cabo en el C. C. Palacio de la Audiencia de Soria entre el 28 de marzo y el 26 de abril de 2025.This review examines “Figura y Fondo, archivo, tierra y mujeres”, an exhibition that, through artistic interventions and the reconfiguration of photographic archives, reflects on the historical invisibility of women in the countryside. Based on the research project Figure and ground. Iconic action to rediscover rural women. The photographic archive through art the exhibition explores the role of rural women, traditionally marginalized in visual representations of agricultural labor, and offers a critique of gender inequalities in land ownership. Using a variety of media, including intervened photography, artificial intelligence, collages and performance, the exhibition promotes the visibilization of women through a critical review of the past and the projection of possible futures. With a structure that explores the past, present and future, the exhibition not only highlights historical and social tensions, but also invites the viewer to reflect on the need to incorporate traditionally silenced voices into the visual narrative of the field. The exhibition was held at the C. C. Palacio de la Audiencia in Soria between March 28 and April 26, 2025.This review examines “Figura y Fondo, archivo, tierra y mujeres”, an exhibition that, through artistic interventions and the reconfiguration of photographic archives, reflects on the historical invisibility of women in the countryside. Based on the research project Figure and ground. Iconic action to rediscover rural women. The photographic archive through art the exhibition explores the role of rural women, traditionally marginalized in visual representations of agricultural labor, and offers a critique of gender inequalities in land ownership. Using a variety of media, including intervened photography, artificial intelligence, collages and performance, the exhibition promotes the visibilization of women through a critical review of the past and the projection of possible futures. With a structure that explores the past, present and future, the exhibition not only highlights historical and social tensions, but also invites the viewer to reflect on the need to incorporate traditionally silenced voices into the visual narrative of the field. The exhibition was held at the C. C. Palacio de la Audiencia in Soria between March 28 and April 26, 2025.This review examines “Figura y Fondo, archivo, tierra y mujeres”, an exhibition that, through artistic interventions and the reconfiguration of photographic archives, reflects on the historical invisibility of women in the countryside. Based on the research project Figure and ground. Iconic action to rediscover rural women. The photographic archive through art the exhibition explores the role of rural women, traditionally marginalized in visual representations of agricultural labor, and offers a critique of gender inequalities in land ownership. Using a variety of media, including intervened photography, artificial intelligence, collages and performance, the exhibition promotes the visibilization of women through a critical review of the past and the projection of possible futures. With a structure that explores the past, present and future, the exhibition not only highlights historical and social tensions, but also invites the viewer to reflect on the need to incorporate traditionally silenced voices into the visual narrative of the field. The exhibition was held at the C. C. Palacio de la Audiencia in Soria between March 28 and April 26, 2025
A drifting invention machine: ecosophical propositions in contemporary art
Full text linkEste artigo discorre sobre as produções artísticas realizadas durante a experiência no curso de Pós-Doutoramento em Criação Artística Contemporânea desenvolvido no Departamento de Comunicação e Arte – DeCA da Universidade de Aveiro – UA, entre 2024 e 2025, em Portugal. É discutida a abordagem metodológica envolvendo caminhadas à deriva como parte do dispositivo intitulado “máquina de invenções”, utilizado para a produção dos dados. Além disso, a produção e a pós-produção de imagens em ateliês, laboratórios e estúdios configuraram as práticas do fazer da investigação em arte. O objetivo deste artigo é analisar o processo de criação e as suas implicações conceptuais no contexto em que as obras foram realizadas. Esse processo e as próprias criações são compreendidas enquanto dados que dimensionam a presença da ecosofia do filósofo francês Félix Guattari como conceito operatório do estudo. A exposição no Museu de Aveiro (Santa Joana) e a residência artística – A arte do encontro caramulano – em Vouzela (Portugal) foram importantes experiências para o aprofundamento e o compartilhamento dos resultados das práxis poéticas e contribuíram para o procedimento de análise dos dados. A investigação resultou na realização de sete obras finalizadas e um work-in-progress. Esta última prevendo a incorporação de mecanismos eletrónicos para uma experiência de interação com o público-observador.This article discusses the artistic productions realized during the experience in the Post-Doctoral course in Contemporary Artistic Creation developed at the Department of Communication and Art – DeCA of the University of Aveiro - UA, between 2024 and 2025, in Portugal. The methodological approach involving drifting walks as part of the device called the invention machine, which was used to produce the data, is discussed. In addition, the production and post-production of images in ateliers, laboratories and studios configured the practices of doing art research. The aim of this article is to analyze the creative process and its conceptual implications in the context in which the works were made. This process and the creations themselves are understood as data that dimension the presence of French philosopher Félix Guattari’s ecosophy as an operative concept in the study. The exhibition at the Aveiro Museum (Santa Joana) and the artistic residency – The art of the Caramullan encounter – in Vouzela (Portugal) were important experiences for deepening and sharing the results of poetic praxis and contributed to the data analysis procedure. The research resulted in the realization of seven finished works and a work-in-progress. The latter provided for the incorporation of electronic mechanisms for an experience of interaction with the viewing public.This article discusses the artistic productions realized during the experience in the Post-Doctoral course in Contemporary Artistic Creation developed at the Department of Communication and Art – DeCA of the University of Aveiro - UA, between 2024 and 2025, in Portugal. The methodological approach involving drifting walks as part of the device called the invention machine, which was used to produce the data, is discussed. In addition, the production and post-production of images in ateliers, laboratories and studios configured the practices of doing art research. The aim of this article is to analyze the creative process and its conceptual implications in the context in which the works were made. This process and the creations themselves are understood as data that dimension the presence of French philosopher Félix Guattari’s ecosophy as an operative concept in the study. The exhibition at the Aveiro Museum (Santa Joana) and the artistic residency – The art of the Caramullan encounter – in Vouzela (Portugal) were important experiences for deepening and sharing the results of poetic praxis and contributed to the data analysis procedure. The research resulted in the realization of seven finished works and a work-in-progress. The latter provided for the incorporation of electronic mechanisms for an experience of interaction with the viewing public.This article discusses the artistic productions realized during the experience in the Post-Doctoral course in Contemporary Artistic Creation developed at the Department of Communication and Art – DeCA of the University of Aveiro - UA, between 2024 and 2025, in Portugal. The methodological approach involving drifting walks as part of the device called the invention machine, which was used to produce the data, is discussed. In addition, the production and post-production of images in ateliers, laboratories and studios configured the practices of doing art research. The aim of this article is to analyze the creative process and its conceptual implications in the context in which the works were made. This process and the creations themselves are understood as data that dimension the presence of French philosopher Félix Guattari’s ecosophy as an operative concept in the study. The exhibition at the Aveiro Museum (Santa Joana) and the artistic residency – The art of the Caramullan encounter – in Vouzela (Portugal) were important experiences for deepening and sharing the results of poetic praxis and contributed to the data analysis procedure. The research resulted in the realization of seven finished works and a work-in-progress. The latter provided for the incorporation of electronic mechanisms for an experience of interaction with the viewing public